The Portland Youth Philharmonic debuts two new symphonies by acclaimed contemporary composers Lera Auerbach and Polina Nazaykinskaya on FIRST SYMPHONIES – PREMIERE RECORDINGS.
Today, the Portland Youth Philharmonic and conductor David Hattner are our featured artists in the “Inside Story,” a blog series exploring the inner workings and personalities of our composers and performers. Read on to learn about the history of the ensemble and their current artistic pursuits…
Tell us about your first performance.
PYP: The orchestra gave its first concert as the Portland Junior Symphony on February 14, 1925. Founding Musical Director Jacques Gershkovitch conducted. The repertoire included Schubert’s Unfinished Symphony, as well as works by Puccini, Handel, Tchaikovsky and Saint Saens. The performance was well received by the press:
“The young orchestra did some astounding work, playing with spirit, musical quality, crisp phrasing and technical skill.” (The Oregonian)
“The young musicians played an ambitious and exciting program of classics so well that the audience that almost filled the auditorium to capacity broke into storm upon storm of applause.” (Oregon Journal)
“The response to the conductor’s baton was surprising indeed, and the phrasing and tonal effects such that they would have been credited to an orchestra of seasoned performers.” (Oregon Journal)
What were some of the ensemble’s early musical experiences?
PYP: Before we were the Portland Junior Symphony, we were the Sagebrush Orchestra under Mary V. Dodge. Dodge began teaching orchestra in Burns OR in 1910, creating an orchestra of children which toured to Salem and Portland. In Portland she taught at Irvington School and had an advanced orchestra which rehearsed in her house. This was the orchestra she had Jacques Gershkovitch listen to to convince him to become the Junior Symphony conductor.
What emotions do you hope listeners will experience after hearing your ensemble?
PYP: We love when our audience members comment on the obvious joy our musicians experience and infuse into their playing. Combined with their thorough training in musical fundamentals, it gives PYP concerts a quality hard to find in other orchestras.
DH: I hope that the listeners will come away with a deep respect for what the composers have provided for us as performers and to connect with the emotions they have put into their music.
How has the ensemble changed over the years?
PYP: The orchestra always takes on some of the characteristics of its conductors. Under Jacques Gershkovitch, a romantic Russian spirit of rhythmic freedom, tremendous rubato and fiery passion, especially in Russian music. Under Jacob Avshalomov, discipline, teamwork and an appreciation for contemporary music aside deep respect for the standard repertoire. Under Huw Edwards, creative use of the English language, much repertoire from the United Kingdom as well as Bruckner and Shostakovich, alongside many deep laughs from creative wordplay. With Mei-Ann Chen, the most challenging repertoire and a sense of being a family. With David Hattner, respect for the composer and a focus on the fundamentals of playing and music making.
How do you prepare for a performance?
DH: Either many hours of practicing or studying, then rehearsing thoroughly. I occasionally record rehearsals to see what is actually sounding.
PYP: We have a rehearsal process of approximately 8 weeks. We have rehearsals on Mondays and also a separate string rehearsal on Saturday. Our chamber orchestra, Camerata PYP, also rehearses on Saturdays. We occasionally have professional coaches work with the sections of the orchestra. Most of the time, we begin by rehearsing the music very slowly, to make sure everyone understands the notes and rhythms as well as those in the surrounding parts. Over time, we prepare to perform at the concert tempos while working to maintain exact ensemble, correcting intonation and making sure the phrasing is unified and easily apparent in the performance.
We also have 4 preparatory ensembles for younger and less experienced musicians who are preparing to join our Philharmonic Orchestra.
Can you share some insight on your creative process?
PYP: In our rehearsal process, tremendous concentration is necessary so that our time together is used efficiently. All musicians are expected to prepare thoroughly by practicing in between rehearsals so that we can spend our time together assembling and refining our interpretation.
DH: When I played more in rehearsals or sight-reading sessions, it was possible to really take chances to see how far one could go with creativity. I also enjoy the spontaneity that is possible within the concert atmosphere when working with equally creative colleagues.
Founded in 1924 by visionary violin teacher Mary V. Dodge, Portland Youth Philharmonic provides young musicians in Portland OR with a challenging opportunity to explore their creativity while receiving the highest quality musical education. The nation’s first youth orchestra, PYP has produced consistently inspiring performances and upheld a tradition of excellence since its first public concert in February 1925. Alumni of this organization can be found around the world in professional orchestras, teaching music at every level, and promoting music education as an important life skill that benefits individuals in any career path.
